Online course and monographic lectures
Online seminar: didactic discussion, didactic dialogue
e-learning: podcasts, video meetings, offline lectures
Field activities (with large numbers of students, grouping activities according to pandemic guidelines)

Student of the Academy of Fine Arts in Warsaw;
Erasmus student studying at the Academy of Fine Arts in Warsaw

The classes are to give the student an orientation on what is the protection of material and non-material heritage and its place in the sphere of culture. The subject, conducted in the form of lectures, online seminars and field classes, will enable the student to acquire knowledge about the specificity of conservation issues along with shaping the awareness of the need to protect heritage.
After completing the course, the student has knowledge of the protection of cultural heritage. Has the ability to collect information in the field of heritage protection and is aware of the issues of protection of cultural heritage.
In addition, students studying at other faculties, such as the conservation department, have the opportunity to learn about talking to the conservator and curator, they are aware of their works of art. They know the basics of creating and designing a work of art. They also know how to properly transport their works and how to look at their work in the future. They become conscious artists who care about their heritage.

THEMES:

• A new conceptual framework for preserving the heritage of contemporary art;
• Contemporary values ​​assessment of the heritage of visual art - an attempt to describe and systematize;
• Exhibition of modern art and the protection of the integrity of works;
• Copyright - what should a young artist know about his art ?;
• Copyright in design;
• Copyright in pop culture. Case study;
• What is a monument? Reconstruction of Warsaw;
• The importance of space, place for an artist;
• What surrounds us? Art in public space in Warsaw;
• Transporting works of art - what an artist and conservator should know ?;
• Interview with the artist. What should an artist consider when thinking about the future of his art ?;
• Assumptions of ancient and modern conservation doctrines, basic texts and documents;
• Structure of the field and basic terminology in the field of protection and care of cultural heritage (division into preventive, conservative and restoration, reconstruction, replica, re-enactment, emulation);
• UNESCO world cultural and natural heritage; knowledge of the criteria for the assessment and verification of cultural and natural sites and the procedure for entering into the list;
• Warsaw Old Town (outdoor activities);
• Current art exhibitions in Warsaw (outdoor activities);
• Trips outside Warsaw (outdoor activities);
• Interviews with curators and people associated with contemporary art and exhibitions (outdoor activities).

The assessment consists of:

class attendance - 60%
active participation in discussions and activities in the field - 40%

Credit in the field of theory

Literature used by the lecturer. The student is not required to read it directly.

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Barassi, S. Dreaming of a universal approach: Brandi’s theory of restoration and the conservation of contemporary art. In Conservation: Principles, Dilemmas and Uncomfortable Truths; Butterworth-Heinemann: Oxford, UK, 2009; (This paper was presented in London on September 24 at the seminar—Conservation: Principles, Dilemmas and Uncomfortable Truths).
Drogi współczesnej konserwacji. Aranżacja. Ekspozycja. Rekonstrukcja. Studia i Materiały Wydziału Konserwacji i Restauracji Dzieł Sztuki ASP w Krakowie 2000, IX tom IX, cz. 1 i 2, ICOMOS Biuletyn 2000; www.icomos-polska.com
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Althöfer H., A Five-Point Programme for Conserving Contemporary Art [in:] What’s changing. Theories and practices in the restoration of contemporary art, ed. M. Mundici, A. Rava, Torino 2013, pp. 37-42.
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